Arnold Bax - Tone Poems Vol.1

Arnold Bax

Tone Poems

BBC Philharmonic

Vernon Handley

Vernon Handley knows Bax's music better than any other conductor. He has consistently given us vivid and masterful interpretations of scores that should be more widely known. In 2002/2003, he joined forces with the BBC Philharmonic to record Bax's seven symphonies, and this box set has received a considerable amount of critical acclaim. (It was, for instance, recently included in Gramophone's list of 100 Greatest Recordings.) Now, three years later, we have a most welcome follow-up: This new CD has the early In the Faery Hills, the more frequently-recorded November Woods and The Garden of Fand, as well as the obscure Sinfonietta. It is hardly surprising that revelations abound in all performances.

The first track, In the Faery Hills, is one of the more successful orchestral works of Bax's early period. Completed in mid 1909, it captures all of the elation that is so common in those youthful scores (see also Spring Fire and Enchanted Summer-both eloquently recorded by Handley as well). In The Faery Hills is Bax's effort "to suggest the revelries of the `Hidden People' in the inmost deeps and hollow hills of Ireland," as well as to depict the "...atmosphere of mystery and remoteness akin to the feeling with which the people of the West think of their beautiful and often terrible faeries." What a fine job he does in this! The music is both light and haunting, and like the two other tone poems included on this disc, it is highly evocative. Handley successfully portrays the vitality of the jigs, as well as the sensitivity of the "song of human joy." And, along with every other track, the solos are delicately played.

If it is elation that can be heard in In The Faery Hills, it is conflict that makes itself known in November Woods. As Lewis Foreman states in his liner notes, "It was November Woods that in images of the stormy Buckinghamshire countryside reflected autobiographical and personal concerns from this time [of 1914-17]." I had no idea how much I loved this piece until I heard this recording; it has never sounded as stormy and powerful as it does here. I must admit, though, that it took me a while to warm up to this version, for its duration is over 20'; this is, by far, the longest account on record. But then I began to wonder. I knew that Handley has always had a keen sense for choosing tempi. What, then, made him choose such a broad one for this? It gradually dawned on me that the swells were more sweeping, the climaxes more forceful. Never before had I heard such depth-and greatness-in this music. Each voice was brought out with care, and the texturing is rich and vibrant. This is a stunning performance in every way.

And now onto one of Bax's very best and most beloved scores. The Garden of Fand was "the last of my Irish music," said Bax to Harriet Cohen. It is certainly the most magical of Bax's seascapes. The form, a tightly constructed ABCBA arch, adds to the work's poignancy: I have found that the form allows the listener to reflect on the transformative power of the music (those opening sounds of the sea will seem strangely different by the end). Handley is again in top-notch form, and he handles the orchestra with fine precision. If one wants to hear an example of great conductorial control, listen to Fand's "song of immortal love"; this music-Bax at his most beautiful-has never sounded so sweet. It's not surprising to learn that Bax "wept in [his] Dublin room" when he composed this tune. It is one of my favorite melodies, and its phrasing is perfectly rendered here.

The last piece on the CD, the Sinfonietta, comes from a later period in Bax's life. It was composed in 1932, just after he had finished the Fifth Symphony. Like Spring Fire, it was never performed in Bax's lifetime; Handley was the first to conduct the piece in 1983-the Bax Centenary. It has only been recorded on one other occasion, with Barry Wordsworth with Slovak Philharmonic Orchestra (now available from Naxos). This new recording outdoes the former in both performance and sound. But it should be known that, unlike November Woods and The Garden of Fand, the Sinfonietta is not first-rank Bax. Bax himself didn't think too highly of the piece. It is less memorable than the other tracks on this disc-and it certainly takes a longer time to get into-, but hardcore Baxians will not want to be without it. I have found the second movement to be the most rewarding, and its enigmatic mood will gradually creep its way into many listeners' minds. The outer movements are pleasant, but as I said, they are not as noteworthy. It should be emphasized that Handley and the BBC players have given their all in making this music. I couldn't imagine the last movement's driving force to be better captured by anyone else.

This CD will not disappoint. If anything, the listener may find him or herself returning to it again and again, especially for the most superior versions of the tone poems. The sound, as always from Chandos, is full and rich, and the liner notes by Lewis Foreman are thorough. I am continually impressed by the BBC Philharmonic; the playing from this orchestra improves with each recording. And as for Vernon Handley, the man must be thanked for bringing Bax's music out of obscurity. He has given this listener-as well as so many others-endless joy with his expert, impassioned readings of music that is worthy of far better recognition. His recordings-including this latest one-will never leave my side.